Most of life’s big steps require a certain muddling through, a trusting that no one really knows the magical formula for the big firsts in life [Cram, Cusi, "‘One Life to Live’ and 14 Beautiful Boys to Kiss," Cafe, January 14, 2015].
I binge write, basically. I do a lot of prep, research, setup. I'll have a pretty detailed outline. Sort of like a beat outline. And then I'll add little notes and dialogue ideas, and I'll just create a 20-page document.
It's easy to make something avant garde. To do something in the traditional way is much more brave in the sense that you're - your technique is so much more exposed because there's not all this flashy stuff to distract the viewer.
When you have a script, and you're discussing what it can be, and who going to play what role, that's a kind of like a fantasy football game. You can imagine these different dream teams interpreting these characters that only exist in your head.
There's a lot of two-hander dialogue in 'True Detective,' and I needed to place those guys in locations where there were other levels of visual storytelling. It didn't necessarily have to move the plot forward, but it had to add tone or add to the ov...
I'm very boring, really: I live on the Upper East Side, a block from the park. I have three kids. I go for a jog around the park every day with my dog.
I’m not interested in blind optimism, but I’m very interested in optimism that is hard-won, that takes on darkness and then says, ‘This is not enough.’ But it takes time, more time than we can sometimes imagine, to get there. And sometimes we...
Everyone thinks these are self-portraits but they aren't meant to be. I just use myself as a model because I know I can push myself to extremes, make each shot as ugly or goofy or silly as possible.
I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.
I think I always resented the fact that people thought I was trying to entertain them with my multifaceted, chameleonlike character changes. Although I liked doing that, I wasn't out to fool people and say 'Guess which one is me.'
Any type of animation, it could be really super crude or very sophisticated, it doesn't mean anything if we don't make this point in this shot, this one here and this one here. There's the saying, 'One shot, one thought.' It's pretty much a true way ...
What I personally gravitate toward tends to be fantasy, medium dark - not too dark - fairy tales and sci fi. Stop-motion takes something on the page that's really dark and adds a little sweetness to it, a living toys realm.
I'm not sure I agree with the thesis, because I think that even though something grotesque or gross has been part of film since way back, what we accept or what we can get away with on the screen is broader now.
In many ways, I think that, while we've been remarkably violent in our media, there's been a real schizophrenia. In private, on the Internet, and on public-affairs shows or talk radio, we're way more explicit than we've ever been.
I try not to put pressure on filmmakers to come up with a big scare at the beginning. I think that helps let the audience settle in and get to know the people they're about to spend 90 minutes with. Once the scarier stuff happens, it's scarier becaus...
In the old days you could do re-runs, and people would have to watch that because there's nothing else. But with Netflix and Amazon, Hulu, Xbox, as well as premium and regular cable, it's very hard to do that.
I also know that in the second movie, the sequel, Eric made some huge advances with the robot suit. That just made it even better. You put the suit on and moved your arms then the robot's arms would move in sync with yours.
Abt Draws from a trove of personal experience to create a vivid account of the people and place. Along the way, Abt addresses big questions such as economic reform and practical ones such as how to use e–commerce to achieve brand recognition in Nor...
I always had a weight thing and felt bad about it, but in New Jersey, I felt like I got attention, and even when I felt bad or chubby, I didn't feel like I a freak.
That's like one of the things - you know, being a writer, it's not just like they're constantly like giving you jobs and shows. There was some lean years, man, and - well, a lean year and a half. 'Woe is me.' Right?
For a house, somewhere near Los Angeles I found an old church. Very old, no longer used. So we moved the church to the land, and I took off the steeple, and I got my hands dirty.
